HONEGGER PASTORALE D’ÉTÉ SYMPHONY NO. 4 UNE CANTATE DE NOËL

VLADIMIR JUROWSKI conductor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC and CHOIR NEW LONDON CHILDREN’S CHOIR

0058 Honegger booklet.indd 1 8/23/2011 10:24:50 AM HONEGGER PASTORALE D’ÉTÉ (SUMMER PASTORAL)

Today the Swiss-born composer Arthur of birdsong on woodwind place Honegger Honegger is often remembered as a member more amongst the 19th-century French of ‘’ – that embodiment of 1920s landscape painters than les enfants terribles. Parisian modernist chic in music. How unjust. From this, Pastorale d’été builds to a rapturous It is true that for a while Honegger shared climax then returns – via a middle section some of the views of true ‘Sixists’ like Francis that sometimes echoes the pastoral Vaughan Poulenc and Darius Milhaud, particularly Williams – to the lazy, summery motion of when they were students together at the Paris the opening. Conservatoire. But even from the start he Stephen Johnson could not share his friends’ enthusiasm for the eccentric prophet of minimalism and Dadaism, Eric Satie, and he grew increasingly irritated with the group’s self-appointed literary SYMPHONY NO. 4 apologist, Jean Cocteau. It was soon clear that, despite the dissonant, metallic futurism of By the time Honegger came to write his Fourth works like Pacific 231 (1923), Honegger had Symphony in 1946, he was barely recognizable more respect for traditional forms and for as the former fellow traveller of the wilfully romantic expression than his friends could provocative Les Six. He had moved away from accept. Poulenc and Milhaud both dismissed any desire to shock or scandalize audiences: Honegger’s magnificent ‘dramatic psalm’ Le Roi instead, like Mozart, he strove ‘to write music David (‘King David’, 1923) as over-conventional. which would be comprehensible to the Pastorale d’été (‘Summer Pastoral’, 1920), is great mass of listeners and at the same time a far gentler work than any of those, yet its sufficiently free of banality to interest genuine warmly expressive melodic lines – without music lovers’. This can be seen particularly in a trace of the ironic distortion delighted in the cycle of five symphonies Honegger wrote by the young Milhaud and Poulenc – show between 1930 and 1951. The Third (Liturgique) immediately that Honegger is set on his own and the Fifth (Di tre re) in particular carry a path. The relaxed, slightly bluesy repeated powerful emotional narrative, coupled with figure that establishes the initial dreamy pace an almost cinematic immediacy, that at times suggests the influence of jazz, but the hints make one think of Mahler – a composer

0058 Honegger booklet.indd 2 8/23/2011 10:24:50 AM whose intense personal-dramatic style, heavily by the affection of dear friends for whom the charged with late romantic pathos, was the art of music still has importance.’ very thing Milhaud, Poulenc and Cocteau had set their face against most fixedly. Honegger wove specific tributes to Basel into the texture of the Fourth Symphony. The Fourth Symphony, however, is intentionally The central Larghetto, for instance, is based a less serious offering, and as its subtitle on a Swiss dialect folk song, ‘Z’ Basel a mim Deliciae Basilienses – ‘The delights of Basel’ Rhy’ (approximately, ‘In Basel, on my beloved – suggests, it is meant to entertain and Rhine’). Easier for the outsider to identify beguile the ear rather than to explore darker is the use of the medieval melody ‘Basler or more melancholic emotions. Honegger Morgenstreich’ – ‘Basel morning prank’ or ‘fun’, was responding to a commission from the which emerges jauntily on high woodwind influential conductor Paul Sacher, director of and glockenspiel at the finale’s final climax. the Basel Chamber Orchestra, and, as the title But what is much more striking is the element indicates, he intended to pay homage to the of new-found magic and sensuous richness orchestra’s home city and its cultural life in the in this work, achieved with an equally new music. But there was a more serious purpose level of sophistication. Honegger himself too, as Honegger recalled: acknowledged this, somewhat primly, when he wrote that the symphony ‘marks a definite ‘In the year of misfortune, 1946, we were living progress in craftsmanship, and contrasts well in a scarcely jubilant era. The governments of with what had gone before’. Like Messiaen the countries demanded that their subjects in his Turangalîla Symphony (also begun in pay for the consequences of the war. In the 1946), Honegger here offers his audience midst of this odious and stupid existence compensation for the prevailing drabness which was imposed on us, this symphony and deprivation of life in post-war Europe. brings hope, created by the prospect of The memory of such straightened times may temporarily escaping from this atmosphere, be faint today, but over half a century on this in my spending the summer in Switzerland music can still cause ‘delight’. [at Sacher’s home in Schönenberg], surrounded Stephen Johnson

0058 Honegger booklet.indd 3 8/23/2011 10:24:50 AM UNE CANTATE DE NOËL (A CHRISTMAS CANTATA)

Honegger’s last major work was the modestly The organ takes over, with fanfares, titled Une Cantate de Noël (‘A Christmas to accompany the baritone soloist singing, Cantata’), composed in 1952–53 for the Basel also in French, the angel’s proclamation to Chamber Choir and its founder and conductor the shepherds of the birth of Christ. This is Paul Sacher. Suffering already from his last greeted by a quodlibet, or medley, of carols from illness, Honegger adapted the work from music different countries, in their original languages. that he had written early in the Second World The German ‘Es ist ein Reis entsprungen’, sung War for an abandoned project, a day-long by the children, is interleaved with the French Passion Play in the Swiss village of Selzach. ‘Il est né le divin enfant’, and counterpointed by The Cantata, first performed in Basel a week an exuberant Gloria. The German ‘Vom Himmel before Christmas 1953, is scored for solo hoch, ihr Engelein, kommt!’ takes over; then baritone, mixed choir, children’s choir, organ and ‘Il est né’ and ‘Vom Himmel hoch’ are smoothly orchestra, and sets a multilingual text. It traces combined with the German ‘O du fröhliche’ and a progression from dark despair to hope and the familiar Austrian ‘Stille Nacht’. joyful affirmation, before a final leave-taking. The baritone re-enters with the angel’s Latin After a slow introduction led by the organ, Gloria, interleaved with a solo treble singing the chorus enters over an ostinato bass, first the start of Psalm 117, the Laudate Dominum, wordlessly and then to Latin words from to its traditional plainchant melody – the Psalm 130, the De profundis. While the chorus source of the Lutheran Advent chorale ‘Wachet continues in wordless octaves at the same auf’, or ‘Sleepers, wake’. The whole Psalm of tempo, the orchestra takes off at double speed praise and rejoicing is then set in rhythmic in an angry march. A choral cry of ‘O come’ triple time, with the children’s choir and is expanded into a chordal setting in French adding the plainchant melody as a of the hymn ‘O come, o come, Emmanuel!’ Bachian descant, and a powerful concluding (divorced from its traditional melody), with the ‘Amen’. The orchestra follows this with another reassuring refrain sung by the children’s choir. ingenious quodlibet of carol melodies, which eventually breaks up into fragments before the organ brings the work to a quiet close. Anthony Burton

0058 Honegger booklet.indd 4 8/23/2011 10:24:50 AM HONEGGER UNE CANTATE DE NOËL

Chorus 05 Ah ... Ah ... De profundis clamavi ad te, Domine; Out of the depths I have cried to thee, Lord; Domine, exaudi vocem meam. Lord, hear my voice. Ah ... Ah ... O viens! O come! O viens, o viens Emmanuel! O come, o come Emmanuel! En toi vit l’espoir d’Israel. The hopes of Israel reside in you. Nos lourdes fautes nous pleurons, We bewail our grievous faults, entends nos voix qui t’implorons. hear our voices that implore you.

Children’s chorus Freu’ Dich, freu’ Dich, o Israel! Rejoice, rejoice, o Israel! Bald kommt, bald kommt Emmanuel. Soon shall come Emmanuel!

Chorus O viens, parais lumière du jour O come, we await the dawn qui dois nous apporter ton secours. that will bring us your aid. Nous errons tous sans but ni fin, We are all aimless wanderers, O désigne nous le clair chemin. O show us the straight path.

Children’s chorus Freu’ Dich, freu’ Dich, o Israel! Rejoice, rejoice, o Israel! Gekommen ist Emmanuel. Emmanuel is come.

Baritone 06 Ne craignez point, Fear not, car je vous transmets une bonne nouvelle for I bring you good tidings qui apportera une grande joie: of great joy: Le Messie est venu sur la terre, The Messiah has come down to earth,

0058 Honegger booklet.indd 5 8/23/2011 10:24:50 AM dans une étable à Bethléem, in a stable at Bethlehem, vous trouverez couché you will find the Infant Jesus dans une crèche l’enfant-Jésus. lying in a manger.

Children’s chorus Es ist ein Reis entsprungen A shoot has sprung forth aus einer Wurzel zart ... from a tender root ... Chorus (sopranos and tenors) Gloria in excelsis Deo ... Glory to God in the highest ... Chorus (mezzo sopranos and basses) Il est né le divin enfant, The divine infant is born, jouez hautbois, résonnez musettes ... play , sound out pipes ...

Children’s chorus Wie uns die Alten sungen, As our elders sang to us, aus Jesse kam die Art from the race of Jesse Mitten im kalten Winter In the midst of the cold winter wohl zu der halben Nacht. and halfway through the night. Das Reis, das ich da meine, The shoot I speak of davon Jesaia sagt. was foretold by Isaiah. Maria ist’s, die Reine, It is Mary the pure die uns das Blümlein bracht. who brought us the little flower. Hat sie ein Kind geboren She bore a child und blieb doch reine Magd. yet remained a pure maiden. Chorus (sopranos and tenors) Gloria in excelsis Deo ... Glory to God in the highest ... Chorus (mezzo sopranos and basses) Il est né, le divin enfant! The divine infant is born, Chantons tous son avènement, let us sing of his coming,

0058 Honegger booklet.indd 6 8/23/2011 10:24:51 AM le ciel l’a annoncé. heaven announced it, Voici finir la nuit. the night is ended.

Chorus Vom Himmel hoch, ihr Engelein, kommt! Come, you angels, from heaven on high! Eia, eia, Eia, eia, Susani, susani! Hosanna, hosanna! Kommt singt und klingt, Come sing, resound, kommt pfeift und trombt, come play on pipes and trumpets, Alleluia, alleluia! Alleluia, alleluia! Von Jesu singt und Maria. Sing of Jesus and of Mary.

Stille Nacht! Heilige Nacht! Silent night! Holy night! Alles schläft, einsam wacht, Everyone sleeps, only the dear Nur das traute hochheilige Paar. most holy couple is awake. Holder Knabe im lockigen Haar. Blessed curly-haired infant Schlaf in himmlischer Ruh. sleep in heavenly peace. Stille Nacht! Heilige Nacht! Silent night! Holy night! Hirten erst kundgemacht The shepherds first heard the news durch der Engel; Halleluia from the angels; Halleluia tönt es laut von fern und nah, echoes loudly from near and far, Christ, der Retter ist da. Christ the Saviour is born.

Baritone Gloria in excelsis Deo ... Glory to God in the highest ...

Solo treble Laudate Dominum omnes gentes ... Praise the Lord all ye nations ...

0058 Honegger booklet.indd 7 8/23/2011 10:24:51 AM Baritone Gloria in excelsis Deo Glory to God in the highest, et in terra pax, and on earth peace, pax hominibus bonae voluntatis. goodwill to all men.

Chorus 07 Laudate Dominum omnes gentes, Praise the Lord all ye nations, laudate eum omnes populi, praise him, all ye people, quoniam confirmata est super nos for his merciful kindness misericordia ejus is great towards us; et veritas Domini manet in aeternum. and the truth of the Lord endureth for ever. Gloria Patri et Filio Glory be to the Father and to the Son, et Spiritui Sancto, and to the Holy Ghost, sicut erat in principio, et nunc, as it was in the beginning, is now, et semper et in saecula saeculorum. and ever shall be for ever and ever. Amen. Amen.

Children’s chorus Laudate Dominum omnes gentes, Praise the Lord all ye nations, laudate eum omnes populi, praise him, all ye people, Amen. Amen.

0058 Honegger booklet.indd 8 8/23/2011 10:24:51 AM VLADIMIR JUROWSKI conductor CHRISTOPHER MALTMAN baritone

Vladimir Jurowski was born in Winner of the Lieder Prize Moscow, but in 1990 moved at the 1997 Cardiff Singer with his family to , of the World Competition, where he completed his Christopher Maltman musical studies at the High studied singing at the Royal Schools of Music in Dresden Academy of Music.

© Karen © Robinson Karen and in Berlin. His 1995 debut © Pia Clodi His operatic appearances at the Wexford Festival include Don Giovanni at the Salzburg Festival, Rimsky-Korsakov’s the Bayerische Staatsoper, Munich, and in launched his international career, and he works Cologne; Papageno, Guglielmo, Marcello, with the world’s leading and opera Ramiro and Forester at the , houses including the Berlin Philharmonic, Royal ; Il Conte at the Opéra National Concertgebouw, Philadelphia, Cleveland and de Paris and in Vienna; Tarquinius, Guglielmo, Chicago Symphony orchestras, the Chamber Marcello and Albert at the Bayerische Orchestra of Europe, Tonhalle-Orchester Staatsoper, Munich; and Papageno and Silvio Zurich, Gewandhausorchester Leipzig and the at the Metropolitan Opera, New York. An Staatskapelle Dresden, as well as the Royal acclaimed Billy Budd, he has sung the role at Opera House, Covent Garden; Opéra Bastille , Teatro Regio in Turin, de Paris; La Scala, Milan; and the Metropolitan Seattle, Frankfurt and Munich. A renowned Opera, New York. recitalist and concert performer, he has appeared with major orchestras across Europe In January 2001 Vladimir Jurowski took up the and the USA. position of Music Director of Glyndebourne Festival Opera. He also holds the title of His discography includes the three Schubert Principal Artist with the Orchestra of the Age of song cycles with Graham Johnson for Wigmore Enlightenment, and from 2005 to 2009 served Live, Schumann’s Dichterliebe and Liederkreis, as Principal Guest Conductor of the Russian and songs by Warlock, Holst, Somervell, National Orchestra. In September 2007 he Debussy and Fauré. became the London Philharmonic Orchestra’s twelfth Principal Conductor.

0058 Honegger booklet.indd 9 8/23/2011 10:24:51 AM LONDON PHILHARMONIC CHOIR NEW LONDON CHILDREN’S CHOIR Artistic Director: Neville Creed Musical Director: Ronald Corp

The London Philharmonic Choir was founded The New London Children’s Choir offers a in 1947 as the chorus for the London unique opportunity for girls and boys aged Philharmonic Orchestra. It is widely regarded between 7 and 18 to learn to sing and enjoy as one of Britain’s finest choirs and consistently all kinds of music. Launched by Ronald Corp meets with critical acclaim. Performing in 1991, the Choir has appeared in all the regularly with the London Philharmonic major London concert halls with the UK’s Orchestra, the London Philharmonic Choir finest symphony orchestras and conductors, also works with many other orchestras has collaborated with opera companies in throughout the United Kingdom and makes the UK and abroad, and has made dozens of annual appearances at the BBC Proms. It has recordings and broadcasts. Recent discs have performed under some of the world’s most included Pigs could fly (a collection of British eminent conductors – among them Pierre music), Jonah-Man Jazz and other cantatas by Boulez, Sir Mark Elder, Sir John Eliot Gardiner, Michael Hurd, and the children’s opera The Ice , Vladimir Jurowski, , Mountain by Ronald Corp. Sir Roger Norrington, Sir Simon Rattle, and Sir . The Choir has a special commitment to commissioning and has premièred over 40 The London Philharmonic Choir has made new works by composers including Diana numerous recordings for CD, radio and Burrell, Simon Bainbridge, Howard Skempton, television. The Choir often travels overseas and Philip Cashian, Patrick Nunn, Richard Causton, in recent years it has given concerts in many Gary Carpenter and Morgan Hayes. It has also European countries, Hong Kong, Malaysia and taken part in premières including works by Australia. Sally Beamish, Sir Peter Maxwell Davies, Louis Andriessen (all BBC Proms), George Benjamin and Gerald Barry as well as concerts with Nico Muhly, Sir Paul McCartney, Lou Reed, Hayley Westenra and These New Puritans. The Choir has travelled to festivals around the world including New York and the Azores.

0058 Honegger booklet.indd 10 8/23/2011 10:24:51 AM LONDON PHILHARMONIC ORCHESTRA

The London Philharmonic Orchestra is May each year. In summer, the Orchestra one of the world’s great orchestras with a moves to Sussex where it has been Resident at reputation secured by its performances in Glyndebourne Festival Opera for over 40 years. the concert hall and opera house, its many The Orchestra also performs at venues around award-winning recordings, its trail-blazing the UK and has made numerous tours to international tours and its pioneering America, Europe and Japan, and visited India, education work. Distinguished conductors Hong Kong, China, South Korea, Australia, who have held positions with the Orchestra South Africa and Abu Dhabi. since its foundation in 1932 by Sir include Sir , Sir John The London Philharmonic Orchestra made its Pritchard, Bernard Haitink, Sir Georg Solti, first recordings on 10 October 1932, just three Klaus Tennstedt, Franz Welser-Möst and Kurt days after its first public performance. It has Masur. Vladimir Jurowski was appointed the recorded and broadcast regularly ever since, Orchestra’s Principal Guest Conductor in and in 2005 established its own record label. March 2003 and became Principal Conductor These recordings are taken mainly from live in September 2007. The London Philharmonic concerts given by conductors including LPO Orchestra has been resident symphony Principal Conductors from Beecham and Boult, orchestra at Southbank Centre’s Royal Festival through Haitink, Solti and Tennstedt, to Masur Hall since 1992 and there it presents its main and Jurowski. lpo.org.uk series of concerts between September and © Patrick Harrison © Patrick

0058 Honegger booklet.indd 11 8/23/2011 10:24:51 AM Also available on the London Philharmonic Orchestra’s label For more information or to purchase CDs telephone +44 (0)20 7840 4242 (1892–1955) or visit www.lpo.org.uk 01 7:23 Pastorale d’été (Summer Pastoral)

24:19 Symphony No. 4 (‘Deliciae Basilienses’) 02 10:54 Lento e misterioso – Allegro 03 5:35 Larghetto 04 7:50 Allegro

21:57 Une Cantate de Noël (A Christmas Cantata) 05 8:43 De profundis clamavi 06 7:02 Ne craignez point 07 6:12 Laudate Dominum omnes gentes

VLADIMIR JUROWSKI conductor CHRISTOPHER MALTMAN baritone LONDON PHILHARMONIC ORCHESTRA and CHOIR NEW LONDON CHILDREN’S CHOIR Boris Garlitsky leader (tracks 1–4) Vesselin Gellev leader (tracks 5–7) Neville Creed chorus master, London Philharmonic Choir Ronald Corp chorus master, New London Children’s Choir

Recorded live at Southbank Centre’s ROYAL FESTIVAL HALL and QUEEN ELIZABETH HALL, London

LPO – 0058

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